Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold’s A Complete Unknown.

Andrew’s been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny.

Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don’t Look up, and The Lost City of Z.

This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor’s cut down to size.

If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Nick Emerson about editing Conclave, for which he’s nominated for an ACE Eddie for Best Edited Feature Film, Dramatic/Theatrical.

Nick has been on Art of the Cut before, when we discussed the film Emma.

His other credits include the feature films Lady MacBeth, Eileen, and Greta, and TV series including The Life and Adventures of Nick Nickleby and Life After Life.

This discussion includes - among other things - the importance of slowly “drip-feeding the story to the audience, the use of slo-mo to add weight and importance, and how and when to break the 180 degree rule.

If you'd like to read along with this podcast and see some of the clips that we talk about, please check out:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Louise Ford, ACE about editing Robert Eggers’ “Nosferatu.”

Louise has been on Art of the Cut before, when we discussed Eggers’ The Northman.

Her other credits include the features Wildlife, Bad Education, and The Lighthouse among many others.

This discussion includes - among other things - the importance of sound design in horror films including the revelation of her personal secret sauce…her method to maintain emotional continuity and how she deals with the dark themes of her work with Eggers.

If you want to read along with this podcast and see exclusive images, trailers and film clips, check out:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominee Joi McMillon, ACE about the editing of Barry Jenkins’ Mufasa: The Lion King.

Joi’s been on Art of the Cut before for Moonlight - for which she was nominated for an Oscar and an ACE Eddie and for Underground Railroad. She also edited Jenkins’ If Beale Street Could Talk among many other projects.

The discussion today is about - among other things - the workflow similarities between Mufasa and Avatar, the benefits of watching dailies with the director and cinematographer, and the learning curve of cutting animation for the first time.

If you want to read along with this podcast, a full transcript - with great visual support of trailers and clips - can be seen at

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Hansjörg Weißbrich about editing September 5, which has been nominated for a Golden Globe for Best Picture. It was also nominated for Best Editing by the Independent Spirit Awards and tied for the win for the LA Film Critics Award for Best editing.

Hansjörg has been nominated for or won numerous German Best Editing awards. His work includes the feature films The Glory of Life, She Said and I’m Your Man, as well as the TV mini-series, Unorthodox, among many others.

The discussion today is about - among other things - editing footage shot documentary-style, the importance of being at the mix, and the precision needed to spot music cues.

Also, you can read along with this podcast and also see exclusing images and clips and trailers at

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominee Peter Sciberras, ACE about editing director Steve McQueen’s film, Blitz.

Peter was last on Art of the Cut for his work on Jane Campion’s Power of the Dog for which he was nominated for an Oscar and an ACE Eddie. His other films include The Rover, The King, and Foe, among many others.

The discussion today is about - among other things - finding the best moment to intercut between the film’s two main characters, the importance of the opening scene's visceral impact, and collaborating with the sound team and composer, Hans Zimmer.

You can read along with this interview and see clips, trailers and stills from the film at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Sam Restivo and Oscar-winning editor, Claire Simpson about their editing of Ridley Scott’s Gladiator II.

Claire and Sam have been on Art of the Cut previously for their work on Ridley’s Napoleon. 

Claire won an ACE Eddie, a BAFTA and an Oscar for her editing of Best Picture winner, Platoon. She was nominated for another Oscar and an ACE Eddie and won a BAFTA for her editing of The Constant Gardener.  Along with Platoon, she’s edited two other Oscar Best Picture nominees: The Reader and Extremely Loud and Incredibly Close.

In addition to Napoleon and Gladiator II, Sam was an additional editor on The Last Showman, The Last Duel, House of Gucci and Robin Hood. 

The discussion today is about - among other things - re-organizing the film to find the best moment to reveal critical information, the difference between editing action and dialogue scenes, and the importance of experimentation.

If you want to follow along with this podcast with a transcript and visual support including clips, trailers, and exclusive photos, check out the blog at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar nominee, Juliette Welfling about Jacques Audiard's film, Emilia Perez, currently on Netflix.

Juliette's been on Art of the Cut before another of Audiard's films, The Sisters Brothers. Her other films include The Diving Bell and the Butterfly, for which she was nominated for an Oscar for Best Editing. She also edited the films: Rust and Bone, A Prophet, The Past, Free State of Jones and Ocean's Eight,

The discussion today is about - among other things - structuring a film for character, not allowing an editor's cut to go too long, and working with a naked director - metaphorically.

This podcast is also available transcribed as a blog with great visual support at:

borisfx.com/blog/aotc

Today, we’re talking with Myron Kerstein, ACE about teaming up again with director Jon Chu to edit the cinematic adaptation of the Broadway hit, Wicked.

Before that they collaborated on In the Heights. And before THAT on Crazy Rich Asians - not to mention Kerstein's work with Lin-Manuel Mirandad on tick, tick...BOOM! and we’ve talked about ALL of those films here on Art of the Cut.

Kerstein’s previous work as an editor includes the feature films Going in Style, Garden State and Glee: The 3D Concert Movie. He’s also directed an episode of the Apple Plus TV series, Home Before Dark. To go DEEP into the editorial archives he was once an assistant editor on the iconic series, Sex and the City.

The discussion today is about how his directing work affects his editing, how he treats dance numbers like any dramatic scene, and the fellow musical editor - and fellow Art of the Cut guest - that Myron turned to for advice.

If you'd like to see lots of video featurettes and trailers and exclusive images, check out the blog of this interview at:

borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with Dreamworks veteran editor, Mary Blee about the film, “The Wild Robot.”

Mary’s editing career began as an assistant editor on the 1991 animated film “Beauty and the Beast.” She’s worked in sound editing and VFX editing. Did additional editing on “Kung Fu Panda” and was an associate editor on “How to Train Your Dragon” and “The Croods.” She was Second Editor on “The Boss Baby” and also worked on subsequent “How To Train Your Dragon,” “Croods” and “Boss Baby” films.

The discussion today includes Mary’s approach to cutting storyboards with feeling, the Rubik’s cube of story beats and how they sometimes need to be spun into proper alignment, and the magic response that a director can have to leave an editor “flying home on a cloud.”

Today is a really good episode to READ along with the podcast because we will have exclusive storyreels for the scenes that are discussed in the podcast and you'll really want to see those, not to mention the absolutely gorgeous timeline screenshot in the blog and clips from the movie.

Get it all here:

borisfx.com/blog/aotc